music and so much more…

Main menu

Category Archives: muse

2012 was a very good year for music. Sometimes it’s difficult to come up with enough albums for my year end list, this year the problem was narrowing down my choices. Click on the album titles to read the full reviews, purchase the albums, and, in some cases, watch videos and/or download mp3s. Then comment with your favorite albums of the year.

“…I expect Eric McGrath won’t be Ireland’s best kept secret for long…McGrath’s intimate singing style and breezy, multi-instrumental compositions often fall somewhere between Bright Eyes and Xavier Rudd, which is an extremely interesting and unique place to be. But even such grand comparisons are tenuous, because Eric McGrath is definitely blazing a creative trail of his own.“

“…Xavier is one of my all-time favorite artists and his music never fails to amaze, uplift and thoroughly entertain me…Xavier wrote, sang and played every instrument (of which there are many) on this spectacular new collection.“

“…Not only does The 2nd Law continue that grandiose marriage of arena rock and classical music, but its futuristic electronic twist allows the album to stand completely on its alone. Definitely one for the year end list…weaving thunderous rock, classical song structure and instrumentation with operatic backing vocals into a glorious, cross-genre cacophony.“

“…the teenage opera duo were this year’s Susan Boyle on Britain’s Got Talent…Talent like Jonathan & Charlotte’s and an album like this doesn’t come along often, so I hope they have a long, successful career ahead of them.“

“…a very splendid and beautiful collection…elegantly serene…Andsnes and the other musicians do a superb job in their individual performances of each work. Even more noteworthy is their musical coalescescence.“

“…shockingly upbeat sound…Cat Power is still as sultry and mysterious as she always was, but the music is very much uptempo…There’s just something so unique about Cat Power’s voice, lyrics and song structure. That unusual quality makes what could be, should be pop songs something entirely different. It’s unpop.“

“…The album explores pop, New Wave and synth rock in a way that is quite a departure from Palmer’s old punk cabaret band The Dresden Dolls, but it often has the same twisted wit, high energy and frenetic pace…the bombastic Theatre Is Evil is the best argument for fan-funded albums“

“…Have I mentioned I love The Mynabirds? The thumping, catchy, claphappy, fiercely femme indie sound of their new sophomore album, Generals, is somewhere between Lykke Li and Bats for Lashes. Thus the love…the album is deliciously rife with the band’s signature blend of synth-pop, rock, wails, hand claps and stomps.“

“…a tribute to The Mamas & Papas and The Beach Boys…their harmonies are as lovely as ever and very reminiscent of the two bands who spawned them…a sunny, summery, very catchy and surprisingly well orchestrated collection of classic pop covers.“

“…Khatia Buniatishvili’s Chopin is not only my favorite of the Chopin albums released this year, it’s my favorite classical release of 2012…Her nimble fingers are a perfect fit for the classical piano master’s compositions and her selection from his work is superbly diverse. Buniatishvili’s Chopin is an absolutely exquisite collection.“

“…Where did this guy come from?…McPherson’s music is a delicious mix of brassed up retro soul and rumbling vintage blues-rock. It’s been a very long time since I was struck by such an intense sense of awe while listening to an album…sound like classics by Little Richard, Jackie Wilson or The Big Bopper with a bit of Jerry Lee Lewis, Buddy Holly and Sun Studios-era Elvis thrown in.“

“…who is this band and how can anyone make an entire album of music this good? Song after song, I would think I’d heard the best of the album only to be even more amazed by the next track. This is music for any band to aspire to and for any music fan to get very excited about.“

“…Norah has finally found a dark, dreamy sound interesting enough to successfully break away from those old coffeehouse categories without losing the mellow charm that made her famous. Produced by Danger Mouse, …Little Broken Hearts spices up pretty post-breakup pop anthems with luscious splashes of noirish electro-rock.“

“…Fiona Apple’s first album in seven years, The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, weaves the fierce emotion, poetic lyrics and masterfully constructed compositions of her previous releases with a much more rugged recording style and strong splashes of jazz. The collection is somewhat unexpected and strange, but it’s also exquisitely beautiful and brilliant.“

“…Anaïs Mitchell is like a modern day Woody Guthrie or Bob Dylan. Her epic lyrical narratives echo Guthrie’s masterful talent for blending the literary with the ordinary, while her fierce and unique vocal phrasing as well as her intricately multi-layered arrangements take Dylanesque to a whole new realm….Young Man in America is both an ambitious recording project and a beautifully rich tapestry of classic folk songwriting. Anaïs Mitchell just may be my generation’s most talented singer-songwriter.“

Muse recently released their sixth studio album, The 2nd Law, and, wow, was it ever worth the wait. I’m truly in awe that the band was even capable of successfully following 2010’s brilliant, The Resistance (one of my Top Albums of The Decade). Not only does The 2nd Law continue that grandiose marriage of arena rock and classical music, but its futuristic electronic twist allows the album to stand completely on its alone. Definitely one for the year end list.

The bombastic drama of “Supremacy” heralds the welcome return of Muse. Theatrical verses – think Les Miserables meets Phantom of the Opera – explode into a finale that sounds like Jimi Hendrix rippin’ on a James Bond theme.

The slinky, slow burning electro-rock of “Madness” then spins the album into another orbit. The song fairly vibrates with electronic beats and searing rock guitar.

This is one of those albums that has classic potential, and I expect to move its way up the list as the years go by. A quote from my review: “Integrating classical and opera music into their theatrical electro-rock sound, Muse have created one of the most exciting song cycles I’ve ever heard.”

It was difficult to narrow how Gaba’s releases to just one, but I think her latest is her strongest to date. As I said when I named it #4 on my Top Albums list, it is “probably the most unusual and creative album” of 2009.

The soundtrack to the Irish independent film Once features The Swell Season’s Glen Hansard and Marketa Irglova. I said in my 2007 review that Hansard’s “lyrics are deeply poetic, his music is heart-wrenchingly lovely, and his beautifully raw voice conveys emotion as if the man were literally ripping his own chest open as he sings.”

Instead of a best of 2005 list, I deemed it The Year of the Bird and that post says everything about how Antony’s music made me feel when I first heard it. While I Am A Bird Now was their more popular release, I’ve always favored their self-titled 2000 album.

Pina sadly remains my best kept secret. I discovered her in the early aughts when a French pal shared mp3s of “I Loved the Way” and “Bring Me a Biscuit.” I also love Pina’s 2005 release Guess You Got It, but the rougher edges of Quick Look‘s production fit better with her “Gothic folk” style.

My 2007 review said: “Like the greatest of classic literature, the compositions on The Brightness are the kind that softly seep through your skin and slowly make their way into your heart and mind before exploding in dazzling display of amazement.”

Xavier has quickly become my favorite male artist in recent years, and as I said in my 2008 review: “the astounding quality of his songs make me wonder if future generations might consider Xavier Rudd to be the greatest artist of this era.”

I’m almost ashamed not to put this at #1, because in many ways this is the greatest album of the past two or three decades. I simply don’t listen to it often as the albums listed below. I suppose this is because the weighty subject matter requires a certain mood. But as I said when I reviewed it two years ago: “We’ll Never Turn Back is what music should be. Gut-wrenching blues, earth shaking beats, hip swaying rhythms, deeply moving lyrics, and a rich voice that defies description.“

I deemed 2005 “the year of the bird,” but that’s only because I didn’t hear Luminescent Orchestrii until 2007 when I said: “there’s a definite connection between their frenzied, violent approach to orchestral instruments and the punk cabaret of The Dresden Dolls, but neither description fully captures their unique and unearthly sound.“

I had never heard of former Helium singer Mary Timony until a friend sent me this album shortly after its 2000 release. Mary’s unusual mix of Medieval folk, chamber pop, and indie-rock was unlike anything I’d heard before, and it remains one of the most strangely beautiful recordings I’ve ever heard.

My #1 album of 2008. In my review, I called it an “inebriating concoction of swamp stomp and backwoods pluck.” But in subsequent listens I’ve found myself drawn more to The Rev’s lyrics, which accurately capture the perils of modern rural life.

Oh that voice! Still gives me chills. I’ve posted about Allison Crowe so many times over the years that I consider her Muruch’s musical mascot. As I said in my 2007 review: “there’s really no way to convey through mere words how much the music on Allison Crowe’s Live At Wood Hall moves me” Forget Susan Boyle, Allison sang the definitive cover of “I Dreamed a Dream.” (mp3)*

I always call it the “Buffy Musical” rather than its proper title Once More With Feeling.” Years before Dr. Horrible, Joss Whedon wrote a hilarious, poignant, and very catchy musical for an episode of Buffy The Vampire Slayer. I don’t know how well the songs translate if you never watched the Buffy series, but I still love singing along to the soundtrack. The album features vocals by actors Sarah Michelle Gellar, Allison Hannigan, Michelle Trachtenberg, Nicholas Brendon, James Marsters, and Anthony Stewart Head. This is an example of why file sharing works – I and several friends burned our own soundtracks from mp3s recorded directly from the televised episode long before the soundtrack was released, yet we all purchased the official album once it became available.

I could easily include all of Xavier Rudd’s albums on this list, but I tried to limit myself to just two. My 2008 review said: “Rudd deems the album his “proudest work” and it’s easy to understand why.” But it’s really only been with repeated listens over the past two years that I’ve grown to love and truly appreciate its magnificence. And nothing speaks to the greatness of an album like having a panic attack when you think you’ve lost it and knowing you must replace it immediately. Fortunately, I found my copy!

Unlike most Americans, I heard and fell in love with O when it was originally released in Ireland in 2001. My clothbound first edition of the album is a collector’s item now, but I wouldn’t part with it for anything. Rice seems to have faced some post-hype backlash in recent years, but that doesn’t erase the brilliance of this album. Most remember it for Lisa Hannigan’s delicate harmonies, but Rice’s use of strings and opera music were also very unique at the time. And the album as a whole has withstood changing trends in music over the years.

This is another example of why file sharing can have a positive effect on album sales. Remember “Free Fiona”? If you don’t, Fiona recorded a version of this album with producer Jon Brion and her label initially refused to release it. Mp3s of the demos were leaked online, the fans loved them, and a huge campaign called “Free Fiona” was launched in hopes of getting the album released. It worked, though Fiona re-recorded most of the album for the official release. I was one of many who purchased the album even though I had the demo mp3s. My 2005 review also shifted the focus of this site from simply sharing music to encouraging people to purchase albums. It has since become one of my favorite albums ever, and I hope Fiona decides to grace us with another release in the near future.

Among the 2000-04 archives of this site that have been lost were my reviewes of the movie Hedwig & The Angry Inch (which I saw in a double bill with The Anniversary Party at a local film festival) and its soundtrack. Whether or not you’re familiar with John Cameron Mitchell’s awesome musical about a German transgender rocker, the soundtrack is one of the best rock albums of all time. There are thunderous punk rock numbers like “Angry Inch” and heart-melting ballads like “Origin of Love.” Why Mitchell continues to act instead of record music is a mystery to me.

In my November, 2006 review, I said “I don’t believe I’ve ever said this about an album before, but I think Old Crow Medicine Show’s Big Iron World is just about perfect.” I stand by that statement. I’ve played this album more than any other released in the past three years, and only one band could keep it from the number 1 spot…

Anyone who knows me or has been a longtime reader of this site knows that The Dresden Dolls are/were my favorite band. My posts about their self-titled debut (and the live A Is For Accident album that preceded it) were also lost with early archives of this site, but I’ve raved every other Dresden Dolls release since then. After “Over the Rainbow”, The Dresden Doll’s “Girl Anachronism” is my favorite song and this is possibly my all-time favorite album. Amanda Palmer proves without a doubt that – in the right hands – the piano is the most punk rock of all instruments.

It’s that time of year again! Following are my Top 15 Albums of 2009. As usual, I tried to balance the order of the list between what I personally perceive as artistic merit (quality of songwriting, vocals, and instrumentation) and basic listenability (how many times I played the album throughout the year). I’ve included some new commentary and brief quotes from the original reviews. Click on the album titles to read the full reviews, purchase the albums, and in some cases download mp3s…

“…all dusty roads and sunsets buoyed by rock guitar and drum crashes that eventually give way to sprawling piano and mournful strings” – As his previous release did on 2008’s list, Joshua’s album pushed its way onto this list at the last minute. I suppose it’s the subtlety of his music that prevents it from being more prominent in my memory, but it wasn’t until I listened to the album again that I remembered its excellence.

“…noirish rock sound with lyrics that alternate between whiskey-splashed cabaret and blood-soaked Gothic poetry” – I haven’t had much time to get to know this new release, but it’s already a favorite. I hope more people pay attention to Rykarda’s unique talent.

“… elegant, Medieval chamber-folk instrumentals and haunting traditional vocal pieces ” – This was a surprise. My enjoyment of instrumental music has grown tremendously this year, but I usually place a higher value on vocals. But this lovely album has been one that I’ve returned to and enjoyed many times over the year.

“…Maura O’Connell’s unparalleled vocal power is beautifully displayed in her impressive new album” – This one was sabotaged by the amount of emotion Maura’s voice rips out of me. It’s a gorgeous album from beginning to end, I just have to be in a particular mood to listen to it.

“…filled to the brim with the kind of warped traditional Eastern European music that made me love Luminescent Orchestrii in the first place” – I really expected this to be #1 when I first reviewed it and the stand out tracks are absolutely stunning, but overall I don’t listen to it nearly as much as the albums below.

“…dark, catchy synth-rock with a slight retro Goth feel…think “Blue Monday” by New Order” – This ominously infectious little album worked its way up the list throughout the year. The title track in particular is one that echoes in my head long after the music has stopped.

“…The Decemberists transformed themselves into the hard rock progeny of Led Zeppelin for portions of the album” – This magnificent concept album may be #1 when it comes to artistic merit, but it lacks the overall listenability of others on the list. Still, it’s one of the more impressive projects of the year.

“…finally puts his pipes to good use over soaring rock arrangements” – I loved this album when I first reviewed it and put it on heavy rotation last winter, but hadn’t listened to it much since then. Playing it again made me wonder why I neglected it for so long. If albums have personalities, it has the strongest of the year.

“…whether humming in such hushed tones or belting to the rafters as in latter tracks, there’s an elegance to each note the sextet sings” – This was another release that faded in my memory until I dug it out again and rediscovered how wonderful it is. Now I love it even more than I did when I reviewed it. The duet with Sara Bareilles on “Gravity” is very moving, and their a cappella cover of “White Winter Hymnal” is one of the loveliest recordings I’ve ever heard.

“…Integrating classical and opera music into their theatrical electro-rock sound, Muse have created one of the most exciting song cycles I’ve ever heard” – The brilliance and complexity of Muse’s album still surprises me every time I listen to it. Not only do I love this album, but it’s the one that everyone I know immediately asks about when I play it.

“…marries foreboding metal guitar and militant drums to pretty piano and angelic backing vocals, reminding us of Gaba’s fondness for Iron Maiden” – The Top 4 albums on this list are pretty much interchangeable. This is probably the most unusual and creative album on my list. I’ve known Gaba for almost a decade now, and I was happy to see her popularity in Poland skyrocket this year. I think she’s going to be a huge international star someday.

“…a breathtaking blend of militant beats and orchestral strings” – I loved this album from the beginning, but it also turned out to be a grower as repeated listens revealed even more layers to its beauty. It is definitely the most beautiful release of the year, but there are two albums I’ve listened to more…

“…Ominous instrumentation is barely restrained as Stolte’s sultry croon initially floats in” – If the order of this list was based solely on the number of times I’ve listened to an album this year, Great Northern would’ve been #1 by a landslide since I’ve played the album nearly every day since March. It may not be the innovative recording on this list, but it is certainly the most addictive. Only one man could keep it from the top spot…

“…I can’t imagine a more perfect score for my favorite novel of all time” – The quote says it all. This album had an edge since it was based on my favorite book (Cat’s Cradle) and featured my favorite author (Vonnegut), but Soldier’s innovative compositions helped push it to the top of the list. If my imagination had a soundtrack, this would be it.

British rock trio Muse have finally unchained themselves from those pesky Radiohead comparisons with their brilliant new album The Resistance, though they’re sure to be likened to Queen now. Integrating classical and opera music into their theatrical electro-rock sound, Muse have created one of the most exciting song cycles I’ve ever heard.

“Uprising,” which is the album’s first single, opens with an energetic, clap-happy glam rock shake. The album’s title track emerges from whispery synths into soaring stadium rock punched up with Styx-like vocal bursts, while “Undisclosed Desires” slides a darker undercurrent into retro ’80s synth-pop.

Singer-songwriter Matthew Bellamy brings new meaning to the phrase “orchestral arrangement” with the astounding Orwellian epic “United States of Eurasia (+ Collateral Damage).” A quiet start first explodes into Bellamy’s signature wail then drops into a dramatic, almost Middle Eastern rock instrumental. A full fledged rock opera of vocals soon follows before it all melts into Chopin’s “Nocturne in E Flat Major.” The entire piece is breathtaking and Bellamy has a career in classical waiting if he ever tires of rock.

“Guiding Light” recalls the prominent beat of “Vienna” by Ultravox, but the quaking guitar rock of “Unnatural Selection” and “MK Ultra” is purely of the modern age. “I Belong To You (+ Mon cœur s’ouvre à ta voix)” is mostly a catchy pop-rock ditty, but Bellamy again experiments with genre-bending toward the end by crooning the aria from the opera Samson and Delilah.

The album ends with the three-part symphony “Exogenesis” which often sounds more like an eerie movie score than an orchestral work. Bellamy’s haunting keens blend with searing guitar riffs all wrapped with atmospheric strings in “Part 1 (Overture).” Melodic piano bookends “Part 2 (Cross-Pollination)”, but the center of the song is more bombastic arena rock. Finally, “Part 3 (Redemption)” gently closes the album with a somber, pretty piano melody not unlike Beethoven’s “Moonlight Sonata” but with Muse’s trademark rock sound firmly planted inside.

I was not granted permission to share an mp3, but you can hear samples of each track at the links below.